With another installment yet to come in the Raid series, one can only imagine what Evans has cooking for audiences, as this film seems designed to pummel them senseless, in the best possible way. There’s an amazing level of proficiency he demonstrates – sometimes using quick cuts and others creating long takes – which legitimizes Uwais’ skill as a fighter and choreographer even as it bolsters his own authority as a storyteller. Some of the sequences, of course, are simply breathless and riveting, but others are tragic, poignant, even cathartic.
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Evans’ maturity has appreciated since the first film, and with each set piece he seems to have a more comfortable grasp on how to stage fights rhythmically, shoot them clearly, and capture their emotional energy. But the actor handles the drama as effectively as he does the action choreography, and the cloud that descends over Rama’s initially clear-eyed view of morality becomes a powerful subtext to battles where his opponents may or may not actually be his enemies.Īs for the action, there are few films in the past decade, including its predecessor, that maintain an energy like in The Raid 2 – one that’s both balletic and visceral. The difference between Uwais’ character and, say, Leonardo DiCaprio’s, is that his undercover activities exorcise his personal rage – his own appetite for vengeance – rather than merely torturing him, although they do that too. If The Raid was an Indonesian Die Hard, Berandal is its Infernal Affairs/ The Departed, which should give you a sense of the complexity (and emotional underpinnings) of Rama’s plight.
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And amazingly, the result is a movie that boasts incredible, elaborate fight sequences almost from start to finish and none of them seem superfluous or self-indulgent. It’s a risky but shrewd move, because the film demands no further explanation to be understood: Each new development unfolds as a direct consequence of the previous one, and each action scene both serves the machinery of the plot and escalates the intensity of Rama’s journey. As exposition-heavy as the first 10 minutes may seem, they literally set up the whole film – where Rama came from, who he’s dealing with, what his task is, and why he can’t refuse it. But when Uco brokers a deal with ambitious upstart Bejo (Alex Abbad) to force his father to launch a turf war with his Goto (Kenichi Endo), Rama is forced to juggle the criminal demands of his fake bosses while supplying information to his real ones.Īt two hours and 30 minutes, The Raid 2 is almost an hour longer than its predecessor, and yet it breezes by almost effortlessly, thanks to Evans’ skillful plotting.
Offered an unenviable deal in exchange for protection of his wife and son, Rama goes undercover in prison to win the loyalty of Uco (Arifin Putra), the son of a crime boss named Bangun (Tio Pakusodewo) whose organization he must infiltrate.
The indefatigable Iko Uwais ( The Raid: Redemption) returns as Rama, the One Good Cop whose survival of the events of the first film has sadly jeopardized his safety on the police force and endangered his family.
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